Dear Readers,
I trust you are all in good health and spirits, and that you have had occasion to enjoy a light and delightful entertainment or two. Recently, as I was perusing the latest offerings of that most modern institution known as “Netflix,” I found myself intrigued by a new adaptation of my own Persuasion—one which, I confess, has stirred a mixture of reflections in my heart and mind. As a modest author, I can scarce imagine my works receiving such attention, and so I must take a moment to offer my thoughts on this particular interpretation.
Allow me to begin by saying, as any writer must, that it is always a curious pleasure to witness the stories of one’s creation being transformed for the screen. But of course, as with all such endeavors, one cannot help but feel some degree of trepidation. Would the essence of my beloved Anne Elliot, so earnest in her emotions and restrained in her actions, be adequately captured? Would Captain Wentworth, with all his tempestuous charm and honorable affection, find his proper place in this vision? Alas, my dear readers, I do not believe it did.
The film, as is common with such modern adaptations, takes liberties with both character and setting. The costume is perhaps the most forgiving aspect—one must admit that the period dress is generally well-represented—but the manner in which the characters speak and interact is, for want of a better word, vexing. Anne, portrayed by Dakota Johnson, is imbued with an air of modernity and wit, which, while charming in its own right, feels somewhat out of place in the world I sought to create. Anne’s internal struggles, her quiet restraint and depth of feeling, are often overshadowed by a more overt, almost sardonic humor that seems entirely foreign to her. To be sure, a heroine may be endowed with cleverness, but one must not mistake wit for wisdom or care for indifference.
Indeed, it is the very heart of Anne’s character—the sweet conflict between duty and desire, the gentle defiance of societal expectations, and the profound growth of self-awareness—that suffers most from this shift. While the film attempts to give her a voice in the form of direct addresses to the camera, a modern touch that seeks to bridge the gap between her thoughts and the audience, I found it somewhat jarring. It pulls Anne out of the genteel world of Bath and Kellynch Hall and places her firmly in the realm of contemporary sensibilities. In the process, much of the quiet reflection that defines her journey is lost. One might argue that this was a valiant attempt to breathe life into the character, but I fear the result is something of a rupture in the delicate fabric of the story.
As for Captain Wentworth—played by the earnest Cosmo Jarvis—the portrayal is one of complexity, though not in a way that resonates with the character’s true nature. The fiery intensity of his love for Anne is, at times, overshadowed by moments of agitation that feel more in keeping with a melodrama than with the composed, though passionate, gentleman I envisioned. The chemistry between the two, which should be an understated, gradual reawakening, instead takes on a sharper, almost too deliberate energy that detracts from the natural flow of their connection.
The pacing of the film, too, is rather hurried, particularly in the latter stages of the story. The delicate unraveling of misunderstandings and the gradual mending of hearts, which in my novel is given the proper time and consideration, feels rushed. Perhaps in their eagerness to condense the story for modern sensibilities, the filmmakers sacrificed the very essence of what makes Persuasion so tender—its quiet patience, its delicate unfolding of emotion. In this sense, the narrative is, in some ways, diluted.
That being said, there are moments of beauty in this adaptation. The settings, though more contemporary than one might expect, are visually striking, and the costumes are often delightful in their authenticity, if not always in their spirit. The supporting cast, especially those in the roles of Sir Walter and Elizabeth Elliot, bring a level of humor that rings true, and the sharp contrast they provide to Anne’s more introspective nature is well executed. However, one cannot help but wish for more attention to the subtleties of the relationships between the characters, particularly the slow, tender evolution of Anne and Wentworth’s feelings.
In conclusion, while I appreciate the intention to bring Persuasion to a wider, modern audience, I must lament that this version has not captured the true spirit of the novel. The heart of Anne’s quiet strength and her emotional maturity have been obscured by attempts to inject levity and modernity where they do not belong. Perhaps future adaptations will find a better balance between the humor and the pathos, and between the modern world and the one in which my characters live.
With all due respect to those who have labored to bring my words to the screen, I must say that, as in matters of love, timing, and patience are key—and here, I fear, those qualities have been hurried.
Yours faithfully,
Jane Austen